Peter Travers
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For 2,319 reviews, this critic has graded:
  • 60% higher than the average critic
  • 2% same as the average critic
  • 38% lower than the average critic
On average, this critic grades 5.1 points higher than other critics. (0-100 point scale)

Peter Travers' Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Twelve Monkeys
Lowest review score: 0 Armageddon
Score distribution:
2,319 movie reviews
    • 57 Metascore
    • 50 Peter Travers
    Some may enjoy the slapstick, which plays like "Harold & Kumar Go to Old Peking," but this bloodless Coen crib job is simply not my cup of noodles.
    • 59 Metascore
    • 50 Peter Travers
    Maybe money never sleeps, but this missed opportunity of a movie will have audiences dozing.
    • 65 Metascore
    • 50 Peter Travers
    Ninety minutes of being buried alive with Ryan Reynolds: Didn't we all suffer that in "The Proposal"?
    • 50 Metascore
    • 50 Peter Travers
    The actors and admirably sensitive director Jake Scott (son of Ridley) can't compensate for Ken Hixon's long slog of a script.
    • 55 Metascore
    • 50 Peter Travers
    Anne Hathaway and Jake Gyllenhaal are hotties with talent. And they maneuver through the daunting maze of shifting tones and intersecting plots of Love and Other Drugs like the pros they are.
    • 46 Metascore
    • 50 Peter Travers
    Miles below the Woodman's class. It's possible that a more astringent script could have provided fuel for the actors and A-list director Ron Howard.
    • 50 Metascore
    • 50 Peter Travers
    What's in this cliché grab bag for moviegoers? Well, Portman and Kutcher are a cute mismatch. She's short to his tall, sassy to his sweet, etc. I dried up here. So does the movie.
    • 49 Metascore
    • 50 Peter Travers
    The result is just good enough to pass as an action flick you watch with the forgiving gaze that comes from too many beers and too little sleep.
    • 52 Metascore
    • 50 Peter Travers
    What we do see is mom, dad, Braun, Usher, vocal coach Mama Jan Smith and the burgeoning Team Bieber claiming they only want the best for the boy as he goes through a punishing 84-date concert tour. Group hug.
    • 56 Metascore
    • 50 Peter Travers
    ignore the pileup of implausibilities and Unknown becomes a diabolically entertaining con game. Does it jerk you around? Yes. Suck it up. The ride's worth it.
    • 42 Metascore
    • 50 Peter Travers
    One raucous night, one raunchy party, "American Graffiti filtered through "Dazed and Confused" and the Shermer High films of John Hughes.
    • 52 Metascore
    • 50 Peter Travers
    Between a diabolically funny start and a surprise climax, Scream 4 offers nothing more than a series of gory deaths that grow tiresome with repetition. The rating is a hard R, but Craven and Williamson keep it soft at its core. "Scream 1" is still the only keeper.
    • 45 Metascore
    • 50 Peter Travers
    Marshall deserves props for putting the "show" back into the Pirates business. But face it, he's polishing a giant turd.
    • 44 Metascore
    • 50 Peter Travers
    How could a 2009 raunchfest that slapped a grin on my face I couldn't unglue degenerate into a cold dish of sloppy seconds?
    • 47 Metascore
    • 50 Peter Travers
    Bad Teacher keeps running away from its combustibly nasty premise. Damn shame.
    • 63 Metascore
    • 50 Peter Travers
    Their banter is fun at the start until it becomes relentless.
    • 50 Metascore
    • 50 Peter Travers
    It looks slick, pricey and starry – Indiana Jones teams up with James Bond for a gunfight with space demons. But even Harrison Ford and Daniel Craig can't save a movie that's all concept, no content.
    • 39 Metascore
    • 50 Peter Travers
    No matter Bateman and Reynolds make The Change-Up seem a lot better than it is. Each earns a star in my review. The movie would be literally nothing without them.
    • 60 Metascore
    • 50 Peter Travers
    Our Idiot Brother comes off as a blueprint for a smart script no one really made. Now that's what I call dumb.
    • 56 Metascore
    • 50 Peter Travers
    With Del Toro's name in the credits, standard chills aren't enough. We want imagination to run riot.
    • 44 Metascore
    • 50 Peter Travers
    Killer Elite pretends to be fact-based and true to its 1980s period. Just know it's all baloney.
    • 56 Metascore
    • 50 Peter Travers
    Sugar Ray Leonard helped with the motion-capture, and it shows. Good stuff. But the tear-jerking in Real Steel is as shameless as its product placement. We're being hustled.
    • 49 Metascore
    • 50 Peter Travers
    One gut-busting death after another, terror giving way to tedium. Your call.
    • 58 Metascore
    • 50 Peter Travers
    Footloose 2011 is harmless as far as it goes, but on the dance floor and off it never goes nearly far enough.
    • 59 Metascore
    • 50 Peter Travers
    I fully expect Paranormal Activity 3 to be box office gold. But it's barely worth two stars, let alone two cents. As for future followups, I offer this plea: STOP!
    • 53 Metascore
    • 50 Peter Travers
    Pretty cast. Potent premise. Piss-poor execution. And so dies In Time.
    • 50 Metascore
    • 50 Peter Travers
    Say this for Emmerich, he's not stuffy. And he lucks out big-time with his cast.
    • 48 Metascore
    • 50 Peter Travers
    So the sequel, A Game of Shadows, is more of the stupid same. It wouldn't matter so much if Downey and Jude Law, as the bromantic Dr. Watson, didn't look so ready to turn on the cerebral dazzle. Instead, Ritchie treats them like action goons out of his "Lock, Stock and Two Smoking Barrels" basement.
    • 61 Metascore
    • 50 Peter Travers
    The film version of Carnage hasn't just lost God from its title, it's lost the laughs from the play that brought it life.
    • 51 Metascore
    • 50 Peter Travers
    Wahlberg could sleepwalk through this role, and does. See this movie and you'll surely follow his lead.
    • 44 Metascore
    • 50 Peter Travers
    Lots of talented young singers decorate the scenery, notably Jeremy Jordan (late of Broadway's failed Bonnie & Clyde but soon-to-open in Newsies)who has vocal and acting chops that shine even in this bucket of Glee Goes Gospel cornpone.
    • 46 Metascore
    • 50 Peter Travers
    You leave Red Tails thinking of what might have been instead of what is – a missed opportunity.
    • 52 Metascore
    • 50 Peter Travers
    Worse, Safe House asks us to believe that Ryan Reynolds can outclass Denzel Washington in the art of being a hard-ass. Not on this planet, baby.
    • 56 Metascore
    • 50 Peter Travers
    The Stooges were always better in short doses. And 90 minutes of PG nyuk-nyuk-nyuk can seem like an eternity.
    • 55 Metascore
    • 50 Peter Travers
    Statham is still playing it safe in Safe, but vulnerability is showing through the cracks.
    • 44 Metascore
    • 50 Peter Travers
    Cusack captures that desperation vividly enough to make you wish this was the real Poe story, which The Raven onscreen leaves buried alive.
    • 59 Metascore
    • 50 Peter Travers
    I never rooted for them as a couple, never felt a chemistry in their bond. And in a romance, even one with tragic notes, that really is the end of the world.
    • 72 Metascore
    • 50 Peter Travers
    Magic Mike slowly degenerates into a simplistic cautionary fable. I didn't see that coming from a sharp observer like Soderbergh.
    • 51 Metascore
    • 50 Peter Travers
    Like the 2010 original, The Expendables 2 is all sound and fury signifying nothing, when at the very least it should add up to big, dumb fun.
    • 50 Metascore
    • 50 Peter Travers
    This slapstick road movie feels tossed off by people on a raunchy bender. I mean that as a good thing. The trouble with Hit & Run is that it can't sustain its trippy effervescence.
    • 40 Metascore
    • 50 Peter Travers
    The chance for delicious satire melts away quickly in Butter, a spoof without oomph.
    • 52 Metascore
    • 50 Peter Travers
    It's Dead! It's Dead! By which I mean, It's Finished! It's Finished! Five movies have been squeezed out of four Stephenie Meyer Twilight books. All of them redefining cinematic tedium for a new century. And now, It's Over! It's Over! No more Twilight movies EVER! I'm so joyful that I might be overrating The Twilight Saga: Breaking Dawn, Part 2 by saying it's not half bad.
    • 55 Metascore
    • 50 Peter Travers
    The actors can't perform miracles. Hot dogs are served in the final scene, but trust me, Hyde Park on Hudson is no picnic.
    • 56 Metascore
    • 50 Peter Travers
    A dash of Tarantino might have juiced up Walter Salles' wrongheadedly well-mannered take on Jack Kerouac's 1957 Beat Generation landmark. Kerouac's semi-autobiographical novel comes to the screen looking good but feeling shallow.
    • 41 Metascore
    • 50 Peter Travers
    In his screenwriting debut, Glee's gifted Chris Colfer, 22, proves he can lace a line with sass and soul. The downside of Struck by Lightning, besides the fact that Colfer's character, Carson Phillips, is struck dead in the first scene, is that Colfer hands himself all the best lines.
    • 59 Metascore
    • 50 Peter Travers
    The script is too primly PG-13 to really go for it. Warm Bodies even suggests that true love can help the right zombie grow a new heart. That's a con job that makes Bodies lukewarm at best.
    • 52 Metascore
    • 50 Peter Travers
    It's a bigger yawn than it sounds.
    • 51 Metascore
    • 50 Peter Travers
    It's a bloodless, gutless piece of PG-13 fodder, geared to go down easy. That it does. It practically evaporates while you're watching it, lulling when you most want it to levitate.
    • 44 Metascore
    • 50 Peter Travers
    There's no Judy Garland songs, no Scarecrow, no Tin Man, no Cowardly Lion. There's also no simplicity, no magic, no truth.
    • 48 Metascore
    • 50 Peter Travers
    I'd see Tina Fey and Paul Rudd in anything, but this is pushing it. Admission is so slight that a breeze could flatten it.
    • 58 Metascore
    • 50 Peter Travers
    Malick keeps pushing Affleck to the corner of the frame, as if he's more interested in the women. I found it difficult to maintain interest in anyone. If there's such a thing as a feather that weighs a ton, it's To the Wonder.
    • 54 Metascore
    • 50 Peter Travers
    For all the bells and whistles – an electronic score by M83, a screen-busting Imax presentation and Cruise going full throttle – Oblivion feels arid and antiseptic, untouched by human hands. Bummer.
    • 40 Metascore
    • 50 Peter Travers
    It's all a jumble and, worse, a damned impersonal one.
    • 41 Metascore
    • 50 Peter Travers
    DeMonaco shows a sure hand at building tension. Too bad the film devolves into a series of home-invasion clichés. The Purge was almost on to something.
    • 42 Metascore
    • 50 Peter Travers
    A flabby farce that might win a pass at the box office because it's just so cute and family friendly. But where's your edge, guys? Where are the laughs that walk a tightrope?
    • 37 Metascore
    • 50 Peter Travers
    Where "Drive" shrewdly mystifies, Only God Forgives stupefies. You can see its gears grinding. But I'll always hang on for a rare talent like Refn. Even when he stumbles, he leaves you eager to see what he's up to next.
    • 55 Metascore
    • 50 Peter Travers
    Hell, I really meant to at least like 2 Guns. But I couldn't. The movie just didn't make the extra effort.
    • 51 Metascore
    • 50 Peter Travers
    We pity Linda, but it's no substitute for understanding her.
    • 44 Metascore
    • 50 Peter Travers
    Jobs is a one-man show that needed to go for broke and doesn't. My guess is that Jobs would give it a swat.
    • 49 Metascore
    • 50 Peter Travers
    An alternately kick-ass and clumsy piece of sci-fi claptrap that puts its empty head down and gets the job done.
    • 42 Metascore
    • 50 Peter Travers
    Robert De Niro – wait for it – in the role of a mobster. Now there's an original idea.
    • 48 Metascore
    • 50 Peter Travers
    Oddly, the published screenplay – while far from McCarthy's top-drawer – reads better than it plays. What's onscreen recalls a line from No Country: "It's a mess, ain't it, Sheriff?"
    • 55 Metascore
    • 50 Peter Travers
    Like a doggie in a window, this romcom relentlessly wags its tail so you'll fall in love and take it home. Not this time, puppy.
    • 52 Metascore
    • 50 Peter Travers
    The pie looks delicious, but Labor Day feels stale.
    • 52 Metascore
    • 50 Peter Travers
    Brazilian director José Padilha (Elite Squad, Bus 174) soldiers on stolidly, but lacks the Dutch Verheoeven's abiding sense of mischief.
    • 60 Metascore
    • 50 Peter Travers
    With raw shock and a riveting Uma Thurman absent this time, Nymphomaniac: Volume II is a metaphoric limp dick.
    • 53 Metascore
    • 50 Peter Travers
    Things go wrong quickly with Amazing 2. Am I the only one who hates the word Amazing to describe a movie that isn't? Just asking. If I had to pinpoint where this epic goes south, I'd start with the tonal shifts.
    • 37 Metascore
    • 50 Peter Travers
    I don't like this movie. I don't like how it walks, talks, struts and sells itself. I find it contrived, tortured, humorless, infuriating and interminable. And yet if you care anything about film and the creative drive that still exists in the people who make them, then Third Person needs to be seen.
    • 61 Metascore
    • 50 Peter Travers
    Remember "Limitless," the 2011 thriller in which Bradley Cooper becomes a whirling killer dervish from a drug that lets him access 100 percent of his brain? Well, Lucy is basically the same movie with Scarlett Johansson in the Cooper role. It's not a good trade-off.
    • 46 Metascore
    • 50 Peter Travers
    Miller's monochrome palette, splashed with color that shines like a whore's lip gloss, doesn't startle as it once did. It's like running into an ex-love and realizing that, damn, the thrill is gone.
    • 46 Metascore
    • 50 Peter Travers
    As I write these words, I feel myself experiencing a loss of consciousness, wondering how this recipe for sugar shock could interest any sentient being over the age of nine.
    • 45 Metascore
    • 40 Peter Travers
    The comic screenplay...pivots on a toothless premise: Russ needs to get in touch with his inner child.
    • Rolling Stone
    • 33 Metascore
    • 40 Peter Travers
    Hit-and-mostly-miss.
    • 49 Metascore
    • 40 Peter Travers
    Director Gregory Hoblit ("Primal Fear") is merely arranging cliches in new patterns until the surprise ending blows enough pro-military fervor up the audience's ass to make Colin Powell call a halt.
    • 56 Metascore
    • 40 Peter Travers
    In story terms, Dinosaur lays an egg.
    • Rolling Stone
    • 37 Metascore
    • 40 Peter Travers
    The motor of the plot, involving nuclear terrorism, not only knocked Bad Company out of last year's release schedule due to 9/11 sensitivity, it stops Rock and Hopkins from sustaining a comic rapport. The waste is criminal.
    • 33 Metascore
    • 40 Peter Travers
    Director Gary Fleder ("Don't Say a Word") pushes the same old cliches in "Blade Runner" packaging.
    • 48 Metascore
    • 40 Peter Travers
    Except for Ashley Judd, who shows true grit as Vivi in her babe days, the effect is like being buried in molasses. For guys whose pain threshold is way low when it comes to the bonding of Steel Magnolias, Ya-Ya is a definite no-no.
    • 10 Metascore
    • 40 Peter Travers
    Peet does it with a twinkle, finding class among the crass.
    • Rolling Stone
    • 36 Metascore
    • 40 Peter Travers
    Does he (Hartley) succeed? Not with a movie this plodding, peevish and gimmicky. Is it fun to watch him try? Me, I'll take failed ambition over hack efficiency any day.
    • 38 Metascore
    • 40 Peter Travers
    The "Citizen Kane" of flatulence.
    • Rolling Stone
    • 37 Metascore
    • 40 Peter Travers
    Lawrence forgoes his knack for verbal comedy and replaces it with crude nonstop mugging.
    • 48 Metascore
    • 40 Peter Travers
    Shot five years ago by director Michael Ritchie. No release until now. Uh-oh. Disaster? Pretty much.
    • Rolling Stone
    • 61 Metascore
    • 40 Peter Travers
    Director Regis Warginer ("Indochine") lets his film degenerate into a turgid melodrama.
    • Rolling Stone
    • 56 Metascore
    • 40 Peter Travers
    Built on a slender, one-joke whimsy -- and a tough one to buy into, at that.
    • Rolling Stone
    • 46 Metascore
    • 40 Peter Travers
    Somehow, Lucille's plight is meant to comment astutely on the civil-rights movement. Now that IS crazy.
    • Rolling Stone
    • 46 Metascore
    • 40 Peter Travers
    Tyler, a true beauty, gives the role a valiant try, but her range is too limited to play this amalgam of female perfection.
    • 41 Metascore
    • 40 Peter Travers
    A promise unfulfilled.
    • Rolling Stone
    • 31 Metascore
    • 40 Peter Travers
    Ephron, try as she might, can't give her codified champagne spin to a Resnick script that all too quickly runs out of fizz.
    • Rolling Stone
    • 35 Metascore
    • 40 Peter Travers
    Branagh's take on the play comes right up to the edge of disaster but stubbornly refuses to leap in.
    • Rolling Stone
    • 43 Metascore
    • 40 Peter Travers
    Plays like an unholy union of "The Natural" and "The Prince of Tides." Too bad...Build a movie as a shrine to baseball and they will come. Suckers!
    • Rolling Stone
    • 45 Metascore
    • 40 Peter Travers
    Abandon all hope of logic, you who enter here.
    • Rolling Stone
    • 60 Metascore
    • 40 Peter Travers
    What started as cute becomes cloying and bloated. Charm should never feel like it weighs a ton.
    • 54 Metascore
    • 40 Peter Travers
    For the 148 minutes it takes "The Messenger" to deliver its message, being John Malkovich or Milla Jovovich is really no fun at all.
    • Rolling Stone
    • 40 Metascore
    • 40 Peter Travers
    Director Mike Barber springs a twist ending that makes you sit up and stifle those yawns.
    • Rolling Stone
    • 59 Metascore
    • 40 Peter Travers
    It's shocking, considering the talent involved, the The Perfect Storm looks and feels fake.
    • Rolling Stone
    • 45 Metascore
    • 40 Peter Travers
    Slim pickings.
    • Rolling Stone
    • 58 Metascore
    • 40 Peter Travers
    Self-importance sinks this one like a stone.
    • Rolling Stone
    • 32 Metascore
    • 40 Peter Travers
    (Shelton) knows how to write pungent dialogue that covers a multitude of sins when the film goes off the rails.
    • Rolling Stone
    • 33 Metascore
    • 40 Peter Travers
    An erotic thriller with flaws.
    • 49 Metascore
    • 40 Peter Travers
    Walken is so funny, he almost makes you forget this flick is one joke stretched thinner than Calista Flockhart.
    • 42 Metascore
    • 40 Peter Travers
    Quite a spectacle, but the movie falls flat.
    • Rolling Stone
    • 42 Metascore
    • 40 Peter Travers
    Starting to feel sick? Just you wait.
    • Rolling Stone
    • 25 Metascore
    • 40 Peter Travers
    Tries for deadpan laughs but is merely lifeless.
    • Rolling Stone
    • 42 Metascore
    • 40 Peter Travers
    No dice...But no apologies are needed for Shannon--she earns her star spot.
    • Rolling Stone
    • 49 Metascore
    • 40 Peter Travers
    Offers action in the Arnold Schwarzenegger style. Well, not right away.
    • Rolling Stone
    • 45 Metascore
    • 40 Peter Travers
    Christensen is the only jolt of excitement in this turgid soap opera.
    • 48 Metascore
    • 40 Peter Travers
    Distressingly shallow.
    • Rolling Stone
    • 38 Metascore
    • 40 Peter Travers
    This black-comic assault on family entertainment is going to set a lot of teeth on edge -- If only his (De Vito's) material were better this time.
    • 44 Metascore
    • 40 Peter Travers
    The film has no soul. An epic about this day of infamy should shake you to the core. But the real infamy about Pearl Harbor is that when you exit, you don't feel a thing.
    • 35 Metascore
    • 40 Peter Travers
    A product that will delight car junkies and drive cinephiles to swear off film until fall.
    • Rolling Stone
    • 46 Metascore
    • 40 Peter Travers
    Funny but perilously slight.
    • 24 Metascore
    • 40 Peter Travers
    Verhoeven, who inflicted "Showgirls" on us, skips the provacative questions raised by invisibility and goes straight to rape and murder.
    • Rolling Stone
    • 40 Metascore
    • 40 Peter Travers
    It's refried comic beans that smell stale and smack of desperation.
    • 57 Metascore
    • 40 Peter Travers
    This new take on horror is more of the bloody same.
    • 50 Metascore
    • 40 Peter Travers
    A sappy big-screen version of TV's "CSI."
    • 36 Metascore
    • 40 Peter Travers
    Cringingly earnest, totally unremarkable fable.
    • 49 Metascore
    • 40 Peter Travers
    Director Elie Chouraqui, who co-wrote the script, catches the chaotic horror of war, but why bother if you're going to subjugate truth to the tear-jerking demands of soap opera?
    • 40 Metascore
    • 40 Peter Travers
    Potter gets the period details right, but the film itself has long since flown off the rails, miring good intentions in rank soap opera.
    • 34 Metascore
    • 40 Peter Travers
    Just isn't enough.
    • Rolling Stone
    • 49 Metascore
    • 40 Peter Travers
    Alleged family fun.
    • 48 Metascore
    • 38 Peter Travers
    Satire in a blanket of bland.
    • 52 Metascore
    • 38 Peter Travers
    Though saddled with hoary jokes, Goldberg at least pumps some funky life into the bland proceedings.
    • 50 Metascore
    • 38 Peter Travers
    What the film lacks is suspense, surprise (the new ending is a dud) and passion.
    • 43 Metascore
    • 38 Peter Travers
    A movie about death that stubbornly refuses to come to life.
    • 63 Metascore
    • 38 Peter Travers
    Even director Carl Franklin, an artful purveyor of sterner stuff in "One False Move" and "Devil in a Blue Dress," can't prevent One True Thing from descending into chick-movie hell.
    • 52 Metascore
    • 38 Peter Travers
    Con Air has all the signs of a hit. That's depressing.
    • 57 Metascore
    • 38 Peter Travers
    This afternoon-TV special trying to pass as a real movie earns an extra half star solely for Samuel L. Jackson, who brings his usual fire to the role.
    • 50 Metascore
    • 38 Peter Travers
    A borrowed idea -- hello, "Blade Runner," hi there, "Matrix" -- but an idea nonetheless.
    • 49 Metascore
    • 38 Peter Travers
    It's not just that Jennifer Lopez looks lost and out of her league acting with Robert Redford and Morgan Freeman. That's to be expected. It's the drag-ass solemnity of this turgid family drama that makes you crazy.
    • 59 Metascore
    • 38 Peter Travers
    The movie, however, is a crock.
    • 58 Metascore
    • 38 Peter Travers
    Director Sydney Pollack zapped out a taut thriller in "Three Days of the Condor". But The Firm is mostly flab, in the manner of Pollack's elephantine Havana.
    • 32 Metascore
    • 38 Peter Travers
    Political satire is so rare that it's a shame to watch the reliable Ralph Fiennes and Donald Sutherland lend their talents to one that is blind to its own incompetence.
    • 58 Metascore
    • 38 Peter Travers
    It's not so bad that it's good. It's so bland that it's boring. Not even worth a hissss.
    • 37 Metascore
    • 38 Peter Travers
    Overthought, overwrought and thuddingly underwhelming, this high-profile misfire makes a congealed gumbo out of Robert Penn Warren's Pulitzer-winning 1946 novel and the Oscar-winning 1949 movie that followed it, sinking a classy cast in the goo.
    • 49 Metascore
    • 38 Peter Travers
    Shopworn propaganda.
    • 52 Metascore
    • 38 Peter Travers
    Offensive on multiple levels -- if only the plot had any levels at all -- Black Snake Moan leaves no "Tobacco Road" cliche unsmoked. Ricci gives it her all, and then some, but even her body and Jackson's blues can't heal a movie that rockets plum off its nut.
    • 66 Metascore
    • 38 Peter Travers
    The film wants to make a case for Parker as the first modern woman. It gets the look and the attitude right, but it can't find her heart.
    • 61 Metascore
    • 38 Peter Travers
    Veering between sentimentality and exploitation with a few misguided stops at raunchy sex farce, Reign Over Me never finds a tone to suit its purpose.
    • 45 Metascore
    • 38 Peter Travers
    Kasdan has inexplicably reduced flesh-and-blood characters to cartoons.
    • 48 Metascore
    • 38 Peter Travers
    Buffy isn't heinous, just disposable. As a friend tells Buffy while she eyes a fashion purchase, "It's so five minutes ago."
    • 53 Metascore
    • 38 Peter Travers
    This big-screen Hamlet, pumped up to operatic scale by overkill director Franco Zeffirelli, exposes Gibson's shortcomings.
    • 43 Metascore
    • 38 Peter Travers
    I laughed, then I wished it was funnier, then I just wished it would end.
    • 51 Metascore
    • 38 Peter Travers
    Me, I just think it blows. What does it matter if you spend millions on a movie - love the talking, battling bears! - if the effects are cheesy, the story runs off on tangents and after watching the movie fail utterly to be the next Lord of the Rings, you just want to go home.
    • 40 Metascore
    • 38 Peter Travers
    By the end, Vantage Point is such a unholy mess of drooling sentiment and sloppy loose ends that you’ll hate yourself for being suckered in.
    • 48 Metascore
    • 38 Peter Travers
    Penelope is dead on arrival.
    • 32 Metascore
    • 38 Peter Travers
    Don't hammer this film for trying to get inside the head of Mark David Chapman before he shot John Lennon outside the rock legend's New York apartment on December 8th, 1980. Hammer it instead for failing to do so with any depth or insight.
    • 36 Metascore
    • 38 Peter Travers
    If you don't see where this is going, you've never seen a movie. Sorry it had to be this one.
    • 43 Metascore
    • 38 Peter Travers
    Questions: Did everyone involved in this botched thriller OD on speed? Does jimmy-legs director D.J. Caruso think if he slowed down the action we'd figure out how stupid the plot is?
    • 53 Metascore
    • 38 Peter Travers
    Watching the stars try to out-cutesy the mutt is one for the puke bucket.
    • 47 Metascore
    • 38 Peter Travers
    Here's a true S&M date movie. Only sadistic men and masochistic women could love it.
    • 42 Metascore
    • 38 Peter Travers
    The money shots of the living tableau are padded with jokes that feel embalmed before the actors get them out of their mouths.
    • 51 Metascore
    • 38 Peter Travers
    The infuriating cop–out ending reduces the premise to mush. I wanted to scream. Here goes: Arghh!
    • 32 Metascore
    • 38 Peter Travers
    Will Ferrell and Danny McBride can find the dumb fun in anything. Too bad that Land of the Lost is so much less than anything.
    • 43 Metascore
    • 38 Peter Travers
    Jammed with story threads that don’t cohere, Cirque commits the cardinal sin for a vampire movie: It’s bloodless.
    • 34 Metascore
    • 38 Peter Travers
    Jeez, did the "surprise" climax have to be this eye-rollingly stupid?
    • 43 Metascore
    • 38 Peter Travers
    What have you done to The Wolfman, Hollywood? It’s got no kick to it. No fun either. And no real scares, which is more unforgivable.
    • 47 Metascore
    • 38 Peter Travers
    No trite, tear-jerking cliché goes undrooled in the script by director Kirk Jones.
    • 32 Metascore
    • 38 Peter Travers
    First-time director and screenwriter Hue Rhodes shows no discernible talent for dialogue, humor and, especially, pacing.
    • 35 Metascore
    • 38 Peter Travers
    It's the Bay touch you feel in the way actors register as body count, characters go undeveloped, and sensation trumps feeling. A nightmare, indeed.
    • 45 Metascore
    • 38 Peter Travers
    So why oh why is The Expendables such a limp-dick bust? Because Stallone forgets to include non-spazzy direction, a coherent plot, dialogue that actors can speak without cringing, stunts that don't fizzle, blood that isn't digital and an animating spirit that might convince us to give a damn.
    • 51 Metascore
    • 38 Peter Travers
    A sappy-sweet romcom that seems to have been invaded by a screenwriter - one Geoff LaTulippe - with delusions that he's David Mamet.
    • 43 Metascore
    • 38 Peter Travers
    I found myself wishing that Taymor would turn off the sound and fury and let The Tempest speak for itself. My wish wasn't granted.
    • 52 Metascore
    • 38 Peter Travers
    It's damn hard to enjoy a thriller when you don't, won't, can't believe a word of it.
    • 44 Metascore
    • 38 Peter Travers
    Patrick Lussier is listed as The Director, though I saw no evidence of anyone in control.
    • 60 Metascore
    • 38 Peter Travers
    What Dick rendered potent, Nolfi renders preposterous.
    • 33 Metascore
    • 38 Peter Travers
    Looks aren't everything. Case in point: Sucker Punch, a dazzling visual design that goes tone-deaf every time it opens its dumb mouth or makes claims to profundity.
    • 43 Metascore
    • 38 Peter Travers
    The Vow is a sopping hankie of a romance for women who love to suffer and the men who love them.
    • 31 Metascore
    • 38 Peter Travers
    A trio of appealing actors is trapped in an action-spiked romcom death-sentenced by a lack of humor, heart and a coherent reason for being.
    • 36 Metascore
    • 38 Peter Travers
    There's no thrill in Gone because you can see every surprise coming. It lies there flapping like a dying fish. Skip it.
    • 46 Metascore
    • 38 Peter Travers
    I've been told the movie plays best with very young girls. That's an insult very young girls should not be forced to endure.
    • 41 Metascore
    • 38 Peter Travers
    Morning sickness afflicts most of the potential mommies. For me, the movie itself triggered the vomiting.
    • 42 Metascore
    • 38 Peter Travers
    With that cast, we rightfully expect fireworks. What we get is the film equivalent of a wet blanket.
    • 42 Metascore
    • 38 Peter Travers
    The movie deserves a stake through the heart.
    • 36 Metascore
    • 38 Peter Travers
    Then there's the movie itself, which should be crazy, stupid fun but settles for just stupid.
    • 49 Metascore
    • 38 Peter Travers
    Another January dud. Broken City drops hot-shot actors in a quicksand of clichés and watches them sink.
    • 44 Metascore
    • 38 Peter Travers
    Magicians have been pulling rabbits out of hats for ages. And yet, with all this talent, no one can make a decent script materialize.
    • 35 Metascore
    • 38 Peter Travers
    The Host basically comes down to a vote for Team Jared or Team Ian. I voted myself into oblivion about half an hour in. Niccol, who once added mystery and suspense to the sci-fi of 1997's "Gattaca," is no match for the giant marshmallow that is The Host.
    • 30 Metascore
    • 38 Peter Travers
    What happened, bitches? Didn't the letdown of The Hangover Part II – basically Part I set in Thailand but minus the laughs – teach you anything? Guess not.
    • 50 Metascore
    • 38 Peter Travers
    I left this movie feeling I’d been had. And not in a good way.
    • 53 Metascore
    • 38 Peter Travers
    Is a Brian DePalma movie that laughs at Brian De Palma movies still worth your time?
    • 37 Metascore
    • 38 Peter Travers
    Working from a script by the gifted Christopher Hampton (Dangerous Liaisons, Atonement), who seems to have traded his wit for a paycheck, Fontaine manages the trick of making sex joyless. Like porn. Then she tops that by draining her film of variety, longing and feminist insight. Like farce. Ouch.
    • 51 Metascore
    • 38 Peter Travers
    Sadly, what Parkland becomes is a crying shame.
    • 49 Metascore
    • 38 Peter Travers
    What's onscreen feels squeezed, truncated and curiously embalmed. It's got no kick to it.
    • 37 Metascore
    • 38 Peter Travers
    Propaganda is a bitch to act. And this misguided movie leaves Hudgens buried in it.
    • 36 Metascore
    • 38 Peter Travers
    The compensation comes in the three lead actors, all way too good for the material dished out by writer-director Tom Gormican.
    • 30 Metascore
    • 38 Peter Travers
    This Endless Love is a photo shoot, not a movie. It'd play better as a slideshow of jpgs. Even nine-year-old girls ought to cry foul on this movie's endless blandness.
    • 39 Metascore
    • 38 Peter Travers
    There's nothing to distract you from a plot so tired there are tire tracks from other racing movies all over it.
    • 48 Metascore
    • 38 Peter Travers
    Except for Kate Winslet's fearsome turn as a villain, the only terror Divergent roused in me was that the drag-ass thing would never end. Sorry, I'm a Candor.
    • 56 Metascore
    • 38 Peter Travers
    Jolie comes to this party ready to bite, but the movie muzzles her. Even at 97 minutes, Maleficent is still one long, laborious slog.
    • 38 Metascore
    • 38 Peter Travers
    If you laughed at Tim Story's first "Think," based on Steve Harvey's bestselling advice book for women, you'll probably ride along for this jacked-up, Vegas-set sequel in which dudes and dolls offer sexist approaches to throwing a bachelor party.
    • 47 Metascore
    • 38 Peter Travers
    Director Brett Ratner could boast solid source material in the five-issue Radical Comics series Hercules: The Thracian Wars by the late Steve Moore. They had a shot at something here, and they blew it.
    • 47 Metascore
    • 38 Peter Travers
    Lowry took chances with her novel. The movie of The Giver takes none. It's safe, sorry and a crashing bore.
    • 44 Metascore
    • 38 Peter Travers
    This comedy about a death is a funeral for the audience.
    • 48 Metascore
    • 38 Peter Travers
    How did talent like this conspire to pump out such bilge? I mean, really.
    • 45 Metascore
    • 30 Peter Travers
    Slack direction fails to touch a nerve. Martin was scarier and funnier extracting Bill Murray's molars without Novocaine in "Little Shop of Horrors." Now that was one crazy dentist.
    • 36 Metascore
    • 30 Peter Travers
    The kind of movie that TV stars do when they're on hiatus and trying to squeeze one in.
    • Rolling Stone
    • 34 Metascore
    • 30 Peter Travers
    What DePalma has never made is a dull movie. Until now.
    • Rolling Stone
    • 40 Metascore
    • 30 Peter Travers
    There's a strong movie in this life, but writer-director Leon Ichaso ("Sugar Hill") hasn't found it.
    • 36 Metascore
    • 30 Peter Travers
    Trash.
    • Rolling Stone
    • 41 Metascore
    • 30 Peter Travers
    Cruz is a dish, but her movie is as soggy and indigestible as Styrofoam.
    • Rolling Stone
    • 40 Metascore
    • 30 Peter Travers
    Judd is slumming again in ths lame suspense yarn that could barely pass as a TV quickie without the bankable names of Judd, Tommy Lee Jones and director Bruce Beresford.
    • Rolling Stone
    • 38 Metascore
    • 30 Peter Travers
    Even a search party would be hard-pressed to find a spark between Harrison Ford and Kristin Scott Thomas in Pollack's latest tear-jerker.
    • Rolling Stone
    • 62 Metascore
    • 30 Peter Travers
    A fine case ... but none weighty enough to keep this fluff from evaporating as you watch it.
    • Rolling Stone
    • 49 Metascore
    • 30 Peter Travers
    Makes you gag.
    • 33 Metascore
    • 30 Peter Travers
    Plods along in the Oscar-winning, yawn-inducing tradition of "Out of Africa," making me yearn for something less "National Geographic."
    • Rolling Stone
    • 48 Metascore
    • 30 Peter Travers
    For the first time, the Farrellys seem to be embarrassed by their own crudeness. For the first time, they should be.
    • 27 Metascore
    • 30 Peter Travers
    It's soft-core pap for horny boys and their hornier dads.
    • Rolling Stone
    • 36 Metascore
    • 30 Peter Travers
    Crossing "A Beautiful Mind" with "Sex Kittens Go to College," first-time director Stephen Gaghan (he wrote Traffic) causes a head-on collision.
    • 30 Metascore
    • 30 Peter Travers
    Off the shelf after two years to capitalize on the popularity of Vin Diesel, Seth Green and Barry Pepper. It should have stayed there.
    • 52 Metascore
    • 30 Peter Travers
    This mumbo-jumbo plays like The X Files on Prozac. No wonder the actors look narcotized.
    • 40 Metascore
    • 30 Peter Travers
    The self-congratulatory histrionics of Williams, lower lip trembling as he triumphs over torture in the name of the human spirit, represents a trend in Hollywood to make accessible melodrama out of unspeakable tragedy.
    • Rolling Stone
    • 44 Metascore
    • 30 Peter Travers
    Chockablock with things we're not supposed to notice: that Roberts is wasted; that she and Cusack have no characters to play, so it's virtually impossible to understand why she loves him or vice versa; that the script provides comedy without bite and romance without resonance.
    • 18 Metascore
    • 30 Peter Travers
    For starters, it blows. Madonna continues to mistake a knack for striking poses with the interpretive skill of a real actor.
    • 50 Metascore
    • 30 Peter Travers
    The true story of the LaMarcas, well told by the late Mike McAlary in Esquire, has been pounded into TV-crime mush by screenwriter Ken Hixon and director Michael Caton-Jones. Shockingly, the acting doesn't help.
    • 66 Metascore
    • 30 Peter Travers
    Good-natured fun when it isn't stale, which is most of the time, this talky comedy set in a Chicago barber shop is a sitcom pilot disguised as a movie.
    • 35 Metascore
    • 30 Peter Travers
    Something lazy, slow, shallow, stupid, amateurish, unfunny, unsuspenseful, uninformed, unspeakably dull and witlessly written, directed and acted (the special effects suck, too).
    • 28 Metascore
    • 30 Peter Travers
    Contrived, manipulative and shamelessly sentimental, this film is notable for the courageous reach of Sean Penn, who gives a bold, heartfelt performance.
    • 65 Metascore
    • 30 Peter Travers
    Even with sex, drugs, hip-hop and a murder, these four stories are dull, dull, dull, dull.
    • Rolling Stone
    • 58 Metascore
    • 30 Peter Travers
    Rob Cohen, who last directed "The Skulls" --ouch! -- can consider this one another career-killing skid mark.
    • 33 Metascore
    • 30 Peter Travers
    Slick-dick director Simon West, of "Con Air" and "The General's Daughter" infamy, continues to show no flair at all for blending action and character. Jolie and Lara deserved better. So did we.
    • 36 Metascore
    • 30 Peter Travers
    It's sledgehammer whimsy, and it's not talking to me.
    • Rolling Stone
    • 55 Metascore
    • 30 Peter Travers
    Despite melodramatic lapses -- the gripping action recalls Walter Hill's 1981 "Southern Comfort" -- this is Schumacher's most ambitions film since "Falling Down" in 1993, and it plays to his strengths with young actors.
    • Rolling Stone
    • 66 Metascore
    • 25 Peter Travers
    A two-hour search for a pulse... A miscalculation from a prodigious talent who has forgotten that you squeeze the life out of romance when you don't give it space to breathe.
    • 45 Metascore
    • 25 Peter Travers
    A dreary film that's damn near torture to sit through.
    • 27 Metascore
    • 25 Peter Travers
    It's a no-go. View From the Top boasts a first-class cast, but they're all traveling coach.
    • 36 Metascore
    • 25 Peter Travers
    Feels fake, forced and indigestible.
    • 39 Metascore
    • 25 Peter Travers
    Murphy looks comatose delivering the played-out poopy jokes.
    • 54 Metascore
    • 25 Peter Travers
    Strands Matt Damon and Casey Affleck (both named Gerry) in a desert with little to say and do except lose themselves in an existential wasteland of doomed beauty.
    • 48 Metascore
    • 25 Peter Travers
    Director Antoine Fuqua (Training Day) can stage action, but he can't save a trivializing, reactionary script featuring a Hollywood star (read America) as a global savior.
    • 23 Metascore
    • 25 Peter Travers
    I'd prefer to think of Sandler in "Punch-Drunk Love," the one good movie of the three he did this year.
    • 49 Metascore
    • 25 Peter Travers
    Director Michael Hoffman sprays on the tears like a toxic mist. Avoid like the plague.
    • 56 Metascore
    • 25 Peter Travers
    Max
    "You're an awfully hard man to like, Hitler." Few serious films could survive a line like that. Max certainly doesn't.
    • 36 Metascore
    • 25 Peter Travers
    Guy flicks can be just as galling as the chick variety. Here's Exhibit A in how to lose an audience in ten minutes.
    • 27 Metascore
    • 25 Peter Travers
    If you ever admired Julia Stiles, Selma Blair and Jason Lee -- and who didn't? -- don't watch them crush their careers in this laugh-free romantic comedy.
    • 31 Metascore
    • 25 Peter Travers
    It's too bad Martin already made “What's the Worst That Could Happen?” The title really fits this one.
    • 16 Metascore
    • 25 Peter Travers
    The 'roo doesn't talk, except in a dream sequence…I'm dying here.
    • 58 Metascore
    • 25 Peter Travers
    Grating.
    • 19 Metascore
    • 25 Peter Travers
    The jokes? "Chicks are for fags," says Lloyd. The film is subtitled When Harry Met Lloyd. Believe me, you don't want to be there.
    • 42 Metascore
    • 25 Peter Travers
    To shine in a turd like this shows Brody has the stuff that -- damn the Oscar jinx -- makes an actor last.
    • 68 Metascore
    • 25 Peter Travers
    A triumph for the machines, more proof that we do indeed live in the Matrix.
    • 23 Metascore
    • 25 Peter Travers
    Do you really need me to tell you how scary this horror show isn't?
    • 61 Metascore
    • 25 Peter Travers
    A clumsy package of clichés.
    • 30 Metascore
    • 25 Peter Travers
    What the filmmakers fail to recognize is that history on the page is quite different from what it needs to be onscreen, namely alive and visceral.
    • 30 Metascore
    • 25 Peter Travers
    Except for Connery, who is every inch the lion in winter, nothing here feels authentic.
    • 48 Metascore
    • 25 Peter Travers
    Something cold and mechanical has seeped into the sequel. The divas push so hard for fun, it kills the spontaneity that fun needs to breathe.
    • 45 Metascore
    • 25 Peter Travers
    When a chick flick goes wrong -- and this one hits a dead end in hell -- it's a wipeout.
    • 43 Metascore
    • 25 Peter Travers
    This third hunk of Pie is a worn-out gross-out, a remnant of a genre that now seems so five minutes ago.
    • 18 Metascore
    • 25 Peter Travers
    The only people likely to get a kick out of Gigli -- the first screen teaming of Ben Affleck and Jennifer Lopez -- are Madonna and her director hubby Guy Ritchie. Finally there's a movie as jaw-droppingly awful as their "Swept Away."
    • 37 Metascore
    • 25 Peter Travers
    It's sad to see risk-taking director Mike Figgis (Leaving Las Vegas, Hotel) do a generic thriller for a paycheck and then not even screw with the rules.
    • 42 Metascore
    • 25 Peter Travers
    "Your incompetence is most taxing," says the chief vampire (Bill Nighy). A line that pretty much nails this rusty Blade.
    • 55 Metascore
    • 25 Peter Travers
    Even Cate Blanchett can't save this misbegotten horse opera.
    • 19 Metascore
    • 25 Peter Travers
    Talk about your quick-buck exploitation.
    • 38 Metascore
    • 25 Peter Travers
    Stupefyingly stupid thriller.
    • 45 Metascore
    • 25 Peter Travers
    "Irritating" doesn't begin to describe Julia Roberts as Katherine, an art-history prof who arrives at Wellesley in 1953.
    • 43 Metascore
    • 25 Peter Travers
    The title of this limp retread of "Minority Report" -- both films are based on stories by Philip K. Dick -- presumably refers to the reason the big names involved did this movie.
    • 46 Metascore
    • 25 Peter Travers
    Lacks the active verb it promises. It defines blah.
    • 23 Metascore
    • 25 Peter Travers
    Diapers, even from three babies, can't stink worse than this.
    • 30 Metascore
    • 25 Peter Travers
    Nothing can save this repetitive bore. Dude, where's your memory?
    • 42 Metascore
    • 25 Peter Travers
    Except for a rare scene of shaggy charm, nothing works. Nothing.
    • 36 Metascore
    • 25 Peter Travers
    Critics and audiences should unite to KO this loser.
    • 33 Metascore
    • 25 Peter Travers
    A comedy so devoid of wit and point that not mentioning the other actors trapped in this rathole would be an act of charity.
    • 54 Metascore
    • 25 Peter Travers
    What a bold notion for a movie, and what a bust in terms of execution.
    • 38 Metascore
    • 25 Peter Travers
    If you can buy the pillow-lipped Angelina Jolie as a psychic FBI agent in Montreal to hunt a serial killer, then you can swallow the other implausibilities in this retread thriller.
    • 31 Metascore
    • 25 Peter Travers
    This is Berg's debut outing as a director, but other first-timers, namely Joel Coen (Blood Simple) and Danny Boyle (Shallow Grave), had it all over him for blending horror and hilarity.
    • 44 Metascore
    • 25 Peter Travers
    How can a film look so radiant and be so hollow?
    • 47 Metascore
    • 25 Peter Travers
    Director Luke Greenfield, the auteur behind "The Animal," starring Rob Schneider, wants to pass off this limp-dick farce as social satire. Ha!
    • 31 Metascore
    • 25 Peter Travers
    Environmentalists are up in arms. "Where did the shit go?" they want to know. The answer is painfully obvious: into the screenplay.
    • 24 Metascore
    • 25 Peter Travers
    Every scare is telegraphed. Every surprise is recycled from a better thriller. Even the devil would send this one back.
    • 38 Metascore
    • 25 Peter Travers
    They are all victims of a script of such colossal banality and gross stupidity that smiles freeze on their faces, leaving them looking trapped and desperate, much like the audience.
    • 35 Metascore
    • 25 Peter Travers
    Here's a shrieking bore of a horror flick.
    • 38 Metascore
    • 25 Peter Travers
    Despite Joan Cusack, whose comic spark earns the film its only star, Raising Helen is like tumbling into chick-flick hell.
    • 47 Metascore
    • 25 Peter Travers
    Don't ask whether or not you should take The Day After Tomorrow seriously. Don't take it at all.
    • 53 Metascore
    • 25 Peter Travers
    I have the same allergic reaction to this open faucet of tear-jerking swill as I do to the 1996 Nicholas Sparks novel that inspired it.
    • 25 Metascore
    • 25 Peter Travers
    It's probably the movie event of the summer if you're an eight-year-old girl who doesn't get out much.
    • 27 Metascore
    • 25 Peter Travers
    Not to be catty about it, but the stench of the litter pan is all over this big-screen $90 million disaster-in-waiting.
    • 28 Metascore
    • 25 Peter Travers
    When a Spike Lee film doesn't fly, it sinks like a stone.
    • 36 Metascore
    • 25 Peter Travers
    Here's a comedy of punishing tedium that pretends to be hip when it's so five minutes ago.
    • 40 Metascore
    • 25 Peter Travers
    This spark-free film has no place to go on their resumes except under the heading of "Cringing Embarrassment."
    • 47 Metascore
    • 25 Peter Travers
    Never achieves liftoff.
    • 47 Metascore
    • 25 Peter Travers
    What's left is a lot of strenuous playacting when what's called for is the finesse of the Japanese original. Skip this stub-toed substitute.
    • 61 Metascore
    • 25 Peter Travers
    The result is a failed and lifeless experiment in which everything goes wrong.
    • 38 Metascore
    • 25 Peter Travers
    A movie utterly devoid of wit , excitement and any reason for being.
    • 44 Metascore
    • 25 Peter Travers
    Is it the clumsy script or the switch in directors -- Beeban Kidron in for Sharon Maguire -- that has sucked out the charm of the original and replaced it with crude pratfalls and enough shag gags to stuff the next three Austin Powers movies?
    • 39 Metascore
    • 25 Peter Travers
    It's not just hard to believe any of this, it's impossible. And director Jon Turteltaub (Phenomenom) directs with robotic cheerlessness.
    • 39 Metascore
    • 25 Peter Travers
    Alexander breaks the key rule that makes movies move: Show, don't tell.
    • 30 Metascore
    • 25 Peter Travers
    "Sixth Sense" rip-off.
    • 34 Metascore
    • 25 Peter Travers
    Breathlessly boring.
    • 37 Metascore
    • 25 Peter Travers
    You know a sequel isn't working when, ten minutes into the movie, a voice inside your head starts screaming, "Please make it stop!"
    • 30 Metascore
    • 25 Peter Travers
    It just plain sucks.
    • 44 Metascore
    • 25 Peter Travers
    Take a tired formula...Stir with a director, Florent Siri, who has no shame about stealing every sadistic suspense trick from the Die Hard series. Serve to a gullible audience willing to pay top dollar for secondhand goods.
    • 42 Metascore
    • 25 Peter Travers
    You might think there's no downside to a movie that peeks up the skirts of babes in micro-minis, but writer-director Angela Robinson's dimwitted satire is libido-killing proof to the contrary.
    • 33 Metascore
    • 25 Peter Travers
    Result? It's not scary, just busy.
    • 41 Metascore
    • 25 Peter Travers
    Purists, be warned: This scare-flick quickie has as much relation to the 1953 Vincent Price classic with the same title as Paris Hilton does to acting.
    • 41 Metascore
    • 25 Peter Travers
    An appallingly clumsy and stupid take on drugs, kidnapping and suicide in suburbia.
    • 46 Metascore
    • 25 Peter Travers
    Oh, how good actors can trap themselves in drivel.
    • 47 Metascore
    • 25 Peter Travers
    This movie isn't over-the-top -- it doesn't know where the top is. Trash addicts will eat up every graphic minute, even if they prefer to wait for the DVD.
    • 34 Metascore
    • 25 Peter Travers
    There's something pernicious about a toxic mix of sitcom and snickering sex jokes getting packaged and effectively sold as wholesome fun for the family.
    • 47 Metascore
    • 25 Peter Travers
    Build a comedy around Jim Carrey in manic mode and they will come. Case in point: Fun With Dick and Jane, a pointless, painfully unfunny and yet inexplicably popular remake of the 1977 fizzle with Jane Fonda and George Segal.
    • 46 Metascore
    • 25 Peter Travers
    It's getting harder to sustain a rooting interest in the career of Johnny Knoxville.